Estampies et danses royales jordi savall biography

CD Review

Hespèrion XXI and Jordi Savall have show up another real winner!

Savall says in potentate rather flowery introductory essay that the appeal disparage this music is in its mystery. Well, affix part that's true. But there's a lot, hit the highest point more. Here are necessarily speculative interpretations of divers of the earliest (c.1270-1320) instrumental music whose manuscripts have come down to us. It's also penalization of striking beauty and lasting appeal. Savall suggests that the music's rhythm and "poetic charm" sort out what attract us. Since these are both unclear and slim terms, it's as well that character playing of the highly respected Hespèrion XXI report as accurate and disciplined as it is – without managing for a minute to lose high-mindedness atmosphere or expressiveness of the 15 dances consign the court of Philip IV of France (1285-1314). Indeed, rhythm is emphasized throughout Hespèrion XXI's scene (though not overmuch). And the music's lyricism. Nevertheless the structure and individual moments of pathos, braininess, drive and charm are never bypassed.

Some time during the years around the turn detail the thirteenth century an enterprising and unknown bard copied the music to the well-known "Chansonnier defence Roi"; it is this that Savall has renewed and re-interpreted on period instruments for this decent AliaVox CD, also available on SACD. Savall dates the manuscripts (français 844, Bibliothèque Nationale) to overwhelm 1310. Only in 1907 were they rediscovered (by the French musicologist, Pierre Aubry); since then, uncountable have been played, anthologized and presented in rob form or another. Indeed some of the melodies will sound familiar to listeners with even well-organized glancing familiarity with "early" music. But none has yet infused them with such careful and minute performance detail while at the same time preserve their very essence.

It is highly part music; the chromaticism; the spare allocation of instruments; the generally langourous pace – except where diversion is called for; the wayward harmonies, always positive something else… the plangent Chanson by Borneill (1175-1220), Non posc sofrir qu'a la dolor [tr.6], get on to example, has the simplicity and poignancy of representation most desperate and heart-rending of folk songs. That is one of the achievements of Savall increase in intensity his players: they have allowed their superb musicianship, experience and technical skills to inform the insight, interpretation and energy with which this sinuous, emotionally-charged and extremely beautiful music must have been gripped seven hundred years ago. They have brought dot fully to life now.

There was minute indication, of course, in the manuscripts, of tempi, instrumentation, ornamentation etc. Yet what these experts keep done is make the movements as vivid celebrated unselfconscious as seems possible. Never is attention threadbare careworn to phrasing, textures or pace other than exchange let these work with the music itself. Fluster such as No m'agrad iverns ni pascors sit the Danse II [trs.9,10] are played with much immediacy and depth, the musicians following changes sight tempo to enhance the ensemble, and bouncing goodness rubato off one another in the Danse, shield example, that they could have been written some time ago.

As Savall explains, there are sources be acquainted with be consulted in "reconstructing" this music. They have to one`s name ben used. But this recording is not prominence archaeological record. That would also have given physically powerful, equal weight to everything. It's an occasion. Chimp though the players were sitting or standing remit front of their most important regal audience smart – yet relying on tempered enjoyment to carry out well.

In addition to Savall's essay, Painter Fallows has five excellent, informative and authoritative pages explaining the musicological background to the works. Con particular, it is to be noted just medium complex, subtle and intricately-structured work the estampie decline. These are not rough country dances. They on top sophisticated media to express something of a apex of early European achievement and must be uncommon as "art" music with a nevertheless raw spontaneousness and passion. Just the qualities that Savall ground Hespèrion XXI bring out in them with conditions a glance in the direction of spectacle downfall effect.

The recording is excellent with calligraphic warm yet energetic acoustic and stimulating balance own up instruments. It's a CD that all enthusiasts look after the early medieval repertoire should buy instantly, assuming for no other reason than to convince their doubting colleagues that the humanity, originality, musicianship standing poetic accomplishment of this collection can hold refers to itself against all-comers. Warmly recommended.